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Source: Wikipedia. Pages: 27. Chapters: American Society of Media Photographers, Boston Camera Club, Carolina Nature Photographers Association, Center for Fine Art Photography, En Foco, Group f/64, Hallmark Institute of Photography, International Center of Photography, International Photo-Engravers Union of North America, Maine Media Workshops, Mid-West Society for Photographic Education, National Photographic Association of the United States, National Press Photographers Association, New England School of Photography, New York Press Photographers Association, North American Nature Photography Association, Photo-Secession, Photo League, Photo Marketing Association, Professional Photographers of America, The Camera Club of New York, The Image Expedition. Excerpt: The Boston Camera Club is the leading amateur photographic organization serving Boston, Massachusetts and vicinity. Founded in 1881, it offers activities of interest to amateur photographers, particularly digital photography. It meets weekly and is open to the public. Photography was introduced publicly in 1839. For some decades practice was limited largely to professionals because it involved laborious wet-plate processes. Amateur photography in the United States received major impetus in 1880 when Eastman Kodak introduced dry plates ¿ glass plates with dry emulsion that were easier to handle than wet plates. In 1888 Kodak introduced the first flexible roll photographic medium ¿ first paper and soon film ¿ and third-party processing. These innovations brought photography to the masses. Still, camera club photography typically used glass plates until the early 20th century, when the capabilities of film began to approach that of glass. Outside processing of photographs was typically frowned upon in camera clubs until the color photography era. The club known today as the Boston Camera Club was founded October 7, 1881 in Boston, Massachusetts as the Boston Society of Amateur Photographers, and is the second-oldest continuously extant amateur camera club in the United States. The club was founded by F. H. Blair, James M. Codman, W. C. Greenough, A. P. Howard, Lucius L. Hubbard, Frederick Ober and John H. Thurston, with Thurston having the most influential role. At first, temporary officers were elected. The seven men were joined on November 18, 1881 by James F. Babcock (1844¿1897), William T. Brigham, Wilfred A. French and William A. Hovey, at which time permanent officers were elected ¿ Brigham president, Babcock vice president, and French secretary and treasurer. The club first met temporarily in the offices of the Boston Sunday Budget, and then regularly at Massachusetts Institute of Technology, at the time located in Boston. As amateur photography in the United St

Excerpt: ...To a man they had hated Great Britain. Not a Tory was found among them. The cries of their martyred dead were still ringing in their souls when George III started on his career of oppression. The fiery words of Patrick Henry, their spokesman in the valley of Virginia, 188 had swept the aristocracy of the Old Dominion into rebellion against the King and on into triumphant Democracy. They had made North Carolina the first home of freedom in the New World, issued the first Declaration of Independence in Mecklenburg, and lifted the first banner of rebellion against the tyranny of the Crown. They grew to the soil wherever they stopped, always home lovers and home builders, loyal to their own people, instinctive clan leaders and clan followers. A sturdy, honest, covenant-keeping, God-fearing, fighting people, above all things they hated sham and pretence. They never boasted of their families, though some of them might have quartered the royal arms of Scotland on their shields. To these sturdy qualities had been added a strain of Huguenot tenderness and vivacity. The culture of cotton as the sole industry had fixed African slavery as their economic system. With the heritage of the Old World had been blended forces inherent in the earth and air of the new Southland, something of the breath of its unbroken forests, the freedom of its untrod mountains, the temper of its sun, and the sweetness of its tropic perfumes. When Mrs. Cameron received Elsie's letter, asking her to secure for them six good rooms at the ?Palmetto? hotel, she laughed. The big rambling hostelry had been burned by roving negroes, pigs were wallowing in the sulphur springs, and along its walks, where lovers of olden days had strolled, the cows were browsing on the shrubbery. But she laughed for a more important reason. They 189 had asked for a six-room cottage if accommodations could not be had in the hotel. She could put them in the Lenoir place. The cotton crop from...

Excerpt: ...and will continue so for a long time. As long as we supply oxygen, so long can we carry on the combustion of the iron, until the latter is consumed. We will now put that on one side, and take some other substance; but we must limit our experiments, for we have not time to spare for all the illustrations you would have a right to if we had more time. We will take a piece of sulphur¿you know how sulphur burns in the air¿well, we put it into the oxygen, and you will see that whatever can burn in air, can burn with a far greater intensity in oxygen, leading you to think that perhaps the atmosphere itself owes all its power of combustion to this gas. The sulphur is now burning very quietly in the oxygen; but you cannot for a moment mistake the very high and increased action which takes place when it is so burnt, instead of being burnt merely in common air. Illustration: Fig. 24. I am now about to shew you the combustion of another substance¿phosphorus. I can do it better for you here than you can do it at home. This is a very combustible substance; and if it be so combustible in air, what might you expect it would be in oxygen? I am about to shew it to you not in its fullest intensity, for if I did so we should almost blow the apparatus up¿I may even now crack the jar, though I do not want to break things carelessly. You see how it burns in the air. But what a glorious light it gives out when I introduce it into oxygen! Introducing the lighted phosphorus into the jar of oxygen. There you see the solid particles going off which cause that combustion to be so brilliantly luminous. Thus far we have tested this power of oxygen, and the high combustion it produces by means of other substances. We must now, for a little while longer, look at it as respects the hydrogen. You know, when we allowed the oxygen and the hydrogen derived from the water to mix and burn together, we had a little explosion. You remember, also, that when I burnt the oxygen and the...

Source: Wikipedia. Pages: 47. Chapters: Toru Takemitsu, Fumio Hayasaka, Akira Ifukube, Toshi Ichiyanagi, Mari Takano, Akira Miyoshi, Minoru Miki, Karen Tanaka, Hikaru Hayashi, Yoshir¿ Irino, Toshiro Mayuzumi, Dai Fujikura, Hidemaro Konoye, Kosaku Yamada, Makoto Shinohara, Ken-Ichiro Kobayashi, Sadao Bekku, Yoritsune Matsudaira, Toshio Hosokawa, Takashi Yoshimatsu, Jo Kondo, Yasuhide Ito, Keiko Abe, Yasushi Akutagawa, Takekuni Hirayoshi, Ushio Torikai, Maki Ishii, Ikuma Dan, Kaoru Wada, Yoshihisa Taira, Ry¿hei Hirose, Teizo Matsumura, Kikuko Kanai, Hisato Ohzawa, Mayako Kubo, Kiyoshige Koyama, Masamichi Amano, Shin-ichiro Ikebe, Shigeaki Saegusa, Roh Ogura, Yasuji Kiyose, Y¿ji Takahashi, Hiroshi Ohguri, Jun Nagao, Junko Mori, Joji Yuasa, Keiko Fujiie, Somei Satoh, Kazuko Hara, Kan Ishii, Makiko Kinoshita, Mamoru Fujieda, Akio Yashiro, Nagako Konishi, Kunihiko Hashimoto, Haruna Miyake, Tomojir¿ Ikenouchi, Akira Nishimura, Takatomi Nobunaga, Makoto Moroi, Hifumi Shimoyama, Kimi Sato, Kikuko Masumoto, Yuzo Toyama, Ko Matsushita, Kazuo Yamada, Ken It¿. Excerpt: Toru Takemitsu Takemitsu T¿ru, October 8, 1930 ¿ February 20, 1996) was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He drew from a wide range of influences, including jazz, popular music, avant-garde procedures and traditional Japanese music, in a harmonic idiom largely derived from the music of Claude Debussy and Olivier Messiaen. In 1958, his Requiem for strings (1957) gained international attention, led to several commissions from across the world and settled his reputation as one of the leading Japanese composers of the 20th century. He was the recipient of numerous awards, commissions and honours; he composed over 100 film scores and about 130 concert works for ensembles of various sizes and combinations. He also found time to write a detective novel and appeared frequently on Japanese television as a celebrity chef. In the foreword to a selection of Takemitsu's writings in English, conductor Seiji Ozawa writes: "I am very proud of my friend Toru Takemitsu. He is the first Japanese composer to write for a world audience and achieve international recognition." Takemitsu was born in Tokyo on October 8, 1930; a month later his family moved to Dalian in the Chinese province then known as Manchuria. He returned to Japan to attend elementary school, but his education was cut short by military conscription in 1944. Takemitsu described his experience of military service at such a young age, under the Japanese Nationalist government, as "... extremely bitter". Takemitsu first became really conscious of Western classical music (which was banned in Japan during the war) during his term of military service, in the form of a popular French Song ("Parlez-moi d'amour") which he listened to with colleagues in secret, played on a gramophone with a makeshift needle fashioned from bamboo. During the post-war U.S. occupation of Japan, Takem

Source: Wikipedia. Pages: 41. Chapters: 10.2 surround sound, 22.2 surround sound, 5.1 surround sound, 7.1 surround sound, Ambiophonics, Ambisonics, Ambisonic decoding, Ambisonic UHJ format, Center channel, Dolby Atmos, Dolby Digital, Dolby Pro Logic, Dolby Surround 7.1, DTS (sound system), Height channels, MP3 Surround, Quadraphonic sound, Sony Dynamic Digital Sound, Surround channels, Virtual surround. Excerpt: Ambisonics is a series of recording and replay techniques using multichannel mixing technology that can be used live or in the studio. By encoding and decoding sound information on a number of channels, a 2-dimensional ("planar", or horizontal-only) or 3-dimensional ("periphonic", or full-sphere) sound field can be presented. Ambisonics was invented by Michael Gerzon of the Mathematical Institute, Oxford, who ¿ with Professor Peter Fellgett of the University of Reading, David Brown, John Wright and John Hayes of the now defunct IMF Electronics, and building on the work of other researchers ¿ developed the theoretical and practical aspects of the system in the early 1970s. Ambisonics offers a number of advantages over other surround sound systems: Ambisonics also suffers from some disadvantages: In the basic version, known as first-order Ambisonics, sound information is encoded into four channels: W, X, Y and Z. This is called Ambisonic B-format. The W channel is the non-directional mono component of the signal, corresponding to the output of an omnidirectional microphone. The X, Y and Z channels are the directional components in three dimensions. They correspond to the outputs of three figure-of-eight microphones, facing forward, to the left, and upward respectively. (Note that the fact that B-format channels are analogous to microphone configurations does not mean that Ambisonic recordings can only be made with coincident microphone arrays.) The B-format signals are based on a spherical harmonic decomposition of the soundfield and correspond to the sound pressure (W), and the three components of the pressure gradient (X, Y, and Z) (not to be confused with the related particle velocity) at a point in space. Together, these approximate the sound field on a sphere around the microphone; formally the first-order truncation of the multipole expansion. This is called "first-order" because W (the mono signal) is the zero-order information, corresponding to a sphere (const